27 Dresses

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Katherine Heigl is delightful as Jane, a self-effacing Gal Friday so addicted to organizing weddings in her off time, that 27 Dresses opens with her character juggling two nuptials on the same night. A perpetual bridesmaid, Janes hobby is discovered by amatrimony reporter named Kevin (James Marsden), who hides a romantic side behind his wall of cynicism. While Kevin gradually develops feelings for Jane, the latters superficial sister, Tess (Malin Akerman), pursues George (Edward Burns), Janes boss andthe object of her love. This romantic circle could go on forever, except that Jane is unexpectedly moved by Kevin despite her general irritation with him and without knowing that hes on the verge of sandbagging her with a ridiculing article in his newspaper. The situation is absurd, but the emotions are not. Heigl is very good, rooted in a long tradition of comely comediennes playing characters who fly under the radar of life. She makes Janes pain palpable and conveys her characters inability to say no without making her look unappealing or weak. Marsden perfectly captures the part of a rumpled, underdressed writer with repressed passions, Akerman is as convincingly shrewish here as she was in The Heartbreak Kid, and Burns is fine as one of those guysso busy saving the world he barely pays attention to the people in his life. The script by Aline Brosh McKenna (The Devil Wears Prada) is fun if predictable, and Anne Fletchers direction is vibrant.

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Katherine Heigl is delightful as Jane, a self-effacing Gal Friday so addicted to organizing weddings in her off time, that 27 Dresses opens with her character juggling two nuptials on the same night. A perpetual bridesmaid, Janes hobby is discovered by amatrimony reporter named Kevin (James Marsden), who hides a romantic side behind his wall of cynicism. While Kevin gradually develops feelings for Jane, the latters superficial sister, Tess (Malin Akerman), pursues George (Edward Burns), Janes boss andthe object of her love. This romantic circle could go on forever, except that Jane is unexpectedly moved by Kevin despite her general irritation with him and without knowing that hes on the verge of sandbagging her with a ridiculing article in his newspaper. The situation is absurd, but the emotions are not. Heigl is very good, rooted in a long tradition of comely comediennes playing characters who fly under the radar of life. She makes Janes pain palpable and conveys her characters inability to say no without making her look unappealing or weak. Marsden perfectly captures the part of a rumpled, underdressed writer with repressed passions, Akerman is as convincingly shrewish here as she was in The Heartbreak Kid, and Burns is fine as one of those guysso busy saving the world he barely pays attention to the people in his life. The script by Aline Brosh McKenna (The Devil Wears Prada) is fun if predictable, and Anne Fletchers direction is vibrant.